National Symphony Orchestra Open Rehearsal featuring Alisa Weilerstein

MEET CHRISTOPH ESCHENBACH He’s the music director leading the NSO, and you can call him “maestro.” That’s because he’s mastered conducting orchestras and playing the piano all over the world. He believes music is one of the strongest forces known to man, and he’s also committed to fostering young musicians. Washingtonian magazine calls him “one of the most exciting classical conductors of the day.”

ABOUT THE NSO The NSO numbers 100 musicians and is performing its 81st season. It has performed at the Kennedy Center every year since the venue opened in 1971, and in 1986 became formally affiliated with the Kennedy Center.

David M. Rubenstein Chairman Michael M. Kaiser President Darrell M. Ayers Vice President, Education

Open Rehearsal Question-and-Answer AND

SESSION

WITH CHRISTOPH ESCHENBACH Christoph Eschenbach Music Director National Symphony Orchestra

Alisa Weilerstein

David and Alice Rubenstein are the Presenting Underwriters of the NSO.

featuring cellist

The NSO Music Director Chair is generously endowed by Roger and Vicki Sant.

with music by Edward Elgar and Dmitri Shostakovich

Additional support for Performances for Young Audiences is provided in part by Adobe Foundation; The Clark Charitable Foundation; Mr. James V. Kimsey; The Macy*s Foundation; The Morris and Gwendolyn Cafritz Foundation; Park Foundation, Inc.; Paul M. Angell Family Foundation; an endowment from the Ryna and Melvin Cohen Family Foundation; U.S. Department of Education; Washington Gas; and by generous contributors to the Abe Fortas Memorial Fund, and by a major gift to the fund from the late Carolyn E. Agger, widow of Abe Fortas.

Education and related artistic programs are made possible through the generosity of the National Committee for the Performing Arts and the President’s Advisory Committee on the Arts.

www.kennedy-center.org/artsedge Cuesheets are produced by ArtsEdge, an education program of the Kennedy Center. Learn more about Education at the Kennedy Center at www.kennedy-center.org/education The contents of this Cuesheet do not necessarily represent the policy of the U.S. Department of Education, and you should not assume endorsement from the Federal Government. © 2013 The John F. Kennedy Center for the Performing Arts

MAY 2, 2012

PERFORMANCE GUIDE

Attending an open rehearsal differs from attending an actual concert, though your role as a quiet listener is the same. That’s because the orchestra is here to work—to practice and perfect their playing for the public performance.

The conductor might stop the orchestra and repeat passages or pieces, or the orchestra might not rehearse the entire program.

Afterward, Alisa Weilerstein joins Christoph Eschenbach on stage for a Question-andAnswer session. Have your questions ready for them.

Cuesheet

NATIONAL SYMPHONY ORCHESTRA

Attending the Open Rehearsal

The Concert Program

Welcome to the Open Rehearsal and Question-and-Answer program* of the National Symphony Orchestra’s performance featuring American cellist Alisa Weilerstein (pronounced WHY-lerstine) in Edward Elgar’s Cello Concerto.

The NSO will also perform Symphony No. 5 by Russian composer Dmitri Shostakovich (duh-MEE-tree Shah-stuhKOH-vitch), considered one of the 20th century’s greatest symphony composers.

CONCERTO IN E MINOR FOR CELLO AND ORCHESTRA, OP. 85

SYMPHONY NO. 5 IN D MINOR, OP. 47

By Edward Elgar (1857-1934) World War I casts a long shadow over this work by English composer Edward Elgar. He wrote the piece in 1919, just after the end of the second deadliest conflict in Western history.

Few could have imagined the level of devastation and loss in Europe—more than nine million soldiers and six million civilians killed, the continent’s cities and countryside in shambles, and a way of life gone forever. In four movements, Elgar’s piece reflects emotions of grief and loss tempered by a brief reflection of life’s beauty.

By Dmitri Shostakovich (1906-1975) In the 1930s, after receiving harsh criticism from Soviet dictator Joseph Stalin, composer Dmitri Shostakovich began work on his Fifth Symphony.

He feared that if he displeased Russian officials with this newest work, it would mean prison or death. Premiering in 1937, Shostakovich’s composition appeared militaristic, optimistic, and patriotic— qualities consistent with Soviet values.

However, some people believe that the music subtly defied the repression of the Soviet government, particularly with its unusual musical patterns and martial, but slightly uneasy, finale.

* During the rehearsal, you may not hear the full program performed; see page 4 for more about the rehearsal.

EMBRACING THE CELLO The cello, the second largest instrument in the string family, often plays a supporting or harmonizing role in the full orchestra. However, composers have also recognized the uniqueness of its deeper, human-like voice in telling their stories, especially of love, longing, and loss.

COVER PHOTO

BY GERARDO ANTONIO SANCHEZ TORRES

PHOTO BY JAMIE JUNG

About the Performance

MEET ALISA WEILERSTEIN Alisa Weilerstein’s musical career started at age two—with a box of Rice Krispies, a green toothbrush, and a chopstick that her grandmother fashioned into a cello and bow. By age four, Weilerstein performed her first public concert. And from there, she continued to refine her skills and artistry. Among those taking notice of this rising star was conductor Daniel Barenboim, whose wife, cellist Jacqueline du Pré (PRAY), made a benchmark recording of the Elgar Concerto in 1965. When du Pré died at age 42, Barenboim didn’t perform the piece again for decades.

As Barenboim began revisiting the piece, Weilerstein (who had grown up listening to du Pré’s recording) seemed like the perfect fit. In 2010, Barenboim invited her to perform with him and the Berlin Philharmonic. Their concerts became a career landmark for Weilerstein, who according to The Guardian, “gave the most technically complete and emotionally devastating performance of Elgar’s Cello Concerto that I have ever heard live.”

Listen for the … n cello’s opening, somber passage n cello’s playful melody in the second movement evoking happier times n sweeping, sorrowful cello solo in the fourth movement that reprises (brings back) the theme and opening passage of the first movement

Listen for the… n alternating lyrical and forceful passages of the first movement n series of rising notes from the celesta, a small, high-pitched keyboard instrument, at the end of the first movement n more playful quality in the second movement, which evokes a dance floor with both graceful and comical dancers n mournful oboe solo backed by a quiet strings vibrato in the third movement n contrast between the opening and closing militaristic passages of the fourth movement

The Concert Program

Welcome to the Open Rehearsal and Question-and-Answer program* of the National Symphony Orchestra’s performance featuring American cellist Alisa Weilerstein (pronounced WHY-lerstine) in Edward Elgar’s Cello Concerto.

The NSO will also perform Symphony No. 5 by Russian composer Dmitri Shostakovich (duh-MEE-tree Shah-stuhKOH-vitch), considered one of the 20th century’s greatest symphony composers.

CONCERTO IN E MINOR FOR CELLO AND ORCHESTRA, OP. 85

SYMPHONY NO. 5 IN D MINOR, OP. 47

By Edward Elgar (1857-1934) World War I casts a long shadow over this work by English composer Edward Elgar. He wrote the piece in 1919, just after the end of the second deadliest conflict in Western history.

Few could have imagined the level of devastation and loss in Europe—more than nine million soldiers and six million civilians killed, the continent’s cities and countryside in shambles, and a way of life gone forever. In four movements, Elgar’s piece reflects emotions of grief and loss tempered by a brief reflection of life’s beauty.

By Dmitri Shostakovich (1906-1975) In the 1930s, after receiving harsh criticism from Soviet dictator Joseph Stalin, composer Dmitri Shostakovich began work on his Fifth Symphony.

He feared that if he displeased Russian officials with this newest work, it would mean prison or death. Premiering in 1937, Shostakovich’s composition appeared militaristic, optimistic, and patriotic— qualities consistent with Soviet values.

However, some people believe that the music subtly defied the repression of the Soviet government, particularly with its unusual musical patterns and martial, but slightly uneasy, finale.

* During the rehearsal, you may not hear the full program performed; see page 4 for more about the rehearsal.

EMBRACING THE CELLO The cello, the second largest instrument in the string family, often plays a supporting or harmonizing role in the full orchestra. However, composers have also recognized the uniqueness of its deeper, human-like voice in telling their stories, especially of love, longing, and loss.

COVER PHOTO

BY GERARDO ANTONIO SANCHEZ TORRES

PHOTO BY JAMIE JUNG

About the Performance

MEET ALISA WEILERSTEIN Alisa Weilerstein’s musical career started at age two—with a box of Rice Krispies, a green toothbrush, and a chopstick that her grandmother fashioned into a cello and bow. By age four, Weilerstein performed her first public concert. And from there, she continued to refine her skills and artistry. Among those taking notice of this rising star was conductor Daniel Barenboim, whose wife, cellist Jacqueline du Pré (PRAY), made a benchmark recording of the Elgar Concerto in 1965. When du Pré died at age 42, Barenboim didn’t perform the piece again for decades.

As Barenboim began revisiting the piece, Weilerstein (who had grown up listening to du Pré’s recording) seemed like the perfect fit. In 2010, Barenboim invited her to perform with him and the Berlin Philharmonic. Their concerts became a career landmark for Weilerstein, who according to The Guardian, “gave the most technically complete and emotionally devastating performance of Elgar’s Cello Concerto that I have ever heard live.”

Listen for the … n cello’s opening, somber passage n cello’s playful melody in the second movement evoking happier times n sweeping, sorrowful cello solo in the fourth movement that reprises (brings back) the theme and opening passage of the first movement

Listen for the… n alternating lyrical and forceful passages of the first movement n series of rising notes from the celesta, a small, high-pitched keyboard instrument, at the end of the first movement n more playful quality in the second movement, which evokes a dance floor with both graceful and comical dancers n mournful oboe solo backed by a quiet strings vibrato in the third movement n contrast between the opening and closing militaristic passages of the fourth movement

MEET CHRISTOPH ESCHENBACH He’s the music director leading the NSO, and you can call him “maestro.” That’s because he’s mastered conducting orchestras and playing the piano all over the world. He believes music is one of the strongest forces known to man, and he’s also committed to fostering young musicians. Washingtonian magazine calls him “one of the most exciting classical conductors of the day.”

ABOUT THE NSO The NSO numbers 100 musicians and is performing its 81st season. It has performed at the Kennedy Center every year since the venue opened in 1971, and in 1986 became formally affiliated with the Kennedy Center.

David M. Rubenstein Chairman Michael M. Kaiser President Darrell M. Ayers Vice President, Education

Open Rehearsal Question-and-Answer AND

SESSION

WITH CHRISTOPH ESCHENBACH Christoph Eschenbach Music Director National Symphony Orchestra

Alisa Weilerstein

David and Alice Rubenstein are the Presenting Underwriters of the NSO.

featuring cellist

The NSO Music Director Chair is generously endowed by Roger and Vicki Sant.

with music by Edward Elgar and Dmitri Shostakovich

Additional support for Performances for Young Audiences is provided in part by Adobe Foundation; The Clark Charitable Foundation; Mr. James V. Kimsey; The Macy*s Foundation; The Morris and Gwendolyn Cafritz Foundation; Park Foundation, Inc.; Paul M. Angell Family Foundation; an endowment from the Ryna and Melvin Cohen Family Foundation; U.S. Department of Education; Washington Gas; and by generous contributors to the Abe Fortas Memorial Fund, and by a major gift to the fund from the late Carolyn E. Agger, widow of Abe Fortas.

Education and related artistic programs are made possible through the generosity of the National Committee for the Performing Arts and the President’s Advisory Committee on the Arts.

www.kennedy-center.org/artsedge Cuesheets are produced by ArtsEdge, an education program of the Kennedy Center. Learn more about Education at the Kennedy Center at www.kennedy-center.org/education The contents of this Cuesheet do not necessarily represent the policy of the U.S. Department of Education, and you should not assume endorsement from the Federal Government. © 2013 The John F. Kennedy Center for the Performing Arts

MAY 2, 2012

PERFORMANCE GUIDE

Attending an open rehearsal differs from attending an actual concert, though your role as a quiet listener is the same. That’s because the orchestra is here to work—to practice and perfect their playing for the public performance.

The conductor might stop the orchestra and repeat passages or pieces, or the orchestra might not rehearse the entire program.

Afterward, Alisa Weilerstein joins Christoph Eschenbach on stage for a Question-andAnswer session. Have your questions ready for them.

Cuesheet

NATIONAL SYMPHONY ORCHESTRA

Attending the Open Rehearsal